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Melody in different groups of instruments
combined together.

A. Combination of wind and brass in unison.

The combination of a wood-wind and brass instrument produces
a complex resonance in which the tone of the brass predominates.
This resonance is naturally more powerful than that of each instrument
taken separately, but slightly sweeter than the brass instrument
alone. The tone of the wood-wind blends with that of the
brass, softens and rarefies it, as in the process of combining
two wood-wind instruments of different colour. Instances of such
doubling are fairly numerous, especially in forte passages. The
trumpet is the instrument most frequently doubled: Trumpet + Cl.,
Trumpet + Ob., Trumpet + Fl., as well as Trumpet + Cl. + Ob. + Fl.;

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the horn, less often: Horn + Cl., Horn + Fag. Trombones and Tuba
may also be doubled: Trombone + Fag., Tuba + Fag. Combining
the Eng. horn, bass clarinet and double bassoon with the brass, in
corresponding registers, presents the same characteristics.

    Examples:

  • Legend of Kitesh 56 — Trombone + Eng. horn.
  • * Mlada, Act III, before 34 — 3 Trombones + Bass cl.

As a rule, the addition of a wind to a brass instrument yields
a finer legato effect than when the latter instrument plays alone.

B. Combination of wind and brass in octaves.

Doubling the horns in octaves by clarinets, oboes or flutes often
replaces the combination

[ILLUSTRATION]

1 Trumpet/1 Horn (or 2 Horns) ]8.

This is done when it is a question of introducing a rich tone into
the upper octave which the trumpet is not capable of imparting.
If a single horn is used, the upper part is allotted to 2 clarinets,
2 oboes, or 2 flutes. But it there are two horns playing the lower
octave in unison, three or four wind instruments will be necessary
above, especially in forte passages:
[ILLUSTRATION]

8[2 Ob. or 2 Cl. or 2 Fl./1 Horn as well as 1 Ob. + 1 Cl./1 Horn]8;2 Fl. + 2 Cl./2 Horns]8.

 To double a trumpet in the upper octave three or four wind instruments
are required, but in the top register two flutes will suffice.

illustration illustration

Wood-wind instruments should not be used to double a trombone
in the octave above; trumpets are more suitable.

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* Mention should also be made of mixed timbres (wood and brass) in progression in octaves.

When it is desired to distribute the melody over three or four
octaves, it is difficult to achieve perfect balance of tone.

C. Combination of strings and wind.

In commencing this section of the work I consider it necessary
to lay down the following fundamental rules which apply equally
to melody, harmony, counterpoint and polyphonic writing.

All combinations of strings and wood-wind are good; a wind
instrument progressing in unison with a stringed instrument increases
the resonance of the latter and amplifies its tone, while
the quality of the strings softens that of the wood-wind. In such
combinations the strings will predominate provided that the two
instruments are of equal power, e. g. when violins are coupled with
an oboe, a bassoon with the 'cellos. If several wind instruments
play in unison with one group of strings, the latter will be overpowered.
As a rule all combinations refine the characteristics of
each instrument taken separately, the wood-wind losing more than
the strings.

Doubling in unison.

The best and most natural combinations are between instruments
whose registers correspond the nearest:

[ILLUSTRATION]

Vns + Fl. (Bass fl., picc.), Vns + Ob., Vns + Cl. (small Cl.);
Violas + Ob. (Eng. horn), Violas + Cl., Violas + Fag.
'Cellos + Cl. (Bass cl.), 'Cellos + Fag.;

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D. basses + Bass cl., D. basses + Fag. ; D. basses + C-fag.

The object of these combinations is: a) to obtain a new timbre
of definite colour; b) to strengthen the resonance of the strings;
c) to soften the quality of the wood-wind.

    Examples:

  • Snegourotchka 5 — 'Cellos + Violas + Eng. horn (cf. Ex. 15).
  • " 28 — Violas + Ob. + Eng. horn.
  • " 116 — Vns I + II + Ob. + Cl.
  • " 288 — Vns I + II-'Cellos + Eng. horn (cf. Ex. 17)
  • No. 80. The May Night, Act III Bb — Violas + Cl.
  • No. 81. Sadko 311 — Vns + Ob.
  • No. 82. " 77 — Violas + Eng. horn.
  • No. 83. " 123 — Violas + Eng. horn.
  • Servilia 59 — Vns G string + Fl.
  • Tsar Saltan 30 — Vns I + II + 2 Cl.
  • No. 84. Tsar Saltan 30, 10th bar. — 'Cellos + Violas + 3 Cl.
    + Fag.
  • Tsar Saltan 156-159 — Vns detached + Fl. legato.
  • The Tsar's Bride 10 Violas + 'Cellos + Fag.
  • Antar, 4th movement 63 — 'Cellos + 2 Fag.
  • Shéhérazade, 3rd movement H — Violas + Ob. + Eng. horn.

Parts doubled in octaves.

Examples of strings in octaves doubled by wood-wind also in
octaves are numerous, and do not require special description; they
are used according to the rules already laid down. The following
are examples of melody distributed over 1, 2, 3 and 4 octaves:

It is necessary to pay more attention to cases where, of the two
parts in octaves, only one is doubled. When this method is applied
to a melody in the soprano register it is better to allow the woodwind
to progress in octaves, the lower part only being doubled
by one of the string groups; [ILLUSTRATION]

Picc./Fl. + Vns]8 Fl./Ob. (cl.) + Vns]8.

In the case of a melody in the low register demanding a sweet
soft tone, the violoncellos and double basses should be made to
progress in octaves, the former doubled by a bassoon, the latter
not doubled at all: [ILLUSTRATION]

'Cellos + Fag./D. basses] 8.

Sometimes a composer is
obliged to use this method on account of the very low register of
the double bass, especially if a double bassoon is not included in
his orchestral scheme. [2]

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[2]

The process of doubling strings and wood-wind in octaves: [ILLUSTRATION]

Fl./Vns]8

,
[ILLUSTRATION]

Ob./'Cellos] 8

, often used by the classics to obtain balance of tone, is not
to be recommended, as the tone quality of the two groups is so widely different.
As a result of the ever-increasing tendency to profusion of colour, this method
has recently come into fashion again, notably among the younger French
composers. (Editor's note.)

D. Combination of strings and brass.

Owing to the dissimilarity between the quality of string and brass
tone, the combination of these two groups in unison can never
yield such a perfect blend as that produced by the union of strings
and wood wind. When a brass and a stringed instrument progress
in unison, each can be heard separately, but the instruments in
each group which can be combined with the greatest amount of
success are those whose respective registers correspond the most
nearly; Violin + Trumpet; Viola + Horn; [ILLUSTRATION]

'Cellos/D. basses + Trombones/Tuba

(for
heavy massive effects).

The combination of horns and 'cellos, frequently employed, produces
a beautifully blended, soft quality of tone.

    Examples:

  • Tsar Saltan 29 — Vns I + II + Horn.
  • * No. 92. The Golden Cockerel 98 — Violas con sord. + Horn.

E. Combination of the three groups.

The combination of members of the three groups in unison is
more common, the presence of the wood-wind imparting a fuller
and more evenly blended tone. The question as to which group
will predominate in timbre depends upon the number of instruments
employed. The most natural combinations, and those most generally
in use are: Vns + Ob. (Fl., Cl.) + Trumpet; Violas (or 'Cellos) + Cl.
(Eng. horn) + Horn; [ILLUSTRATION]

'Cellos/D. basses

+ 2 Fag. + 3 Trombones + Tuba.

Such groupings are used for preference in loud passages or for
a heavy piano effect.

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